A-Haunting We Will Go

Laurel and Hardy are bamboozled into smuggling a gangster, disguised as a corpse in a coffin, from one city to another but complications arise when the coffin is switched with a coffin used in a magician's act. This film, produced by Twentieth Century Fox, doesn't approach the charm of even their weakest feature produced by the Hal Roach Studios, but I don't think this is necessarily Laurel and Hardy's worst film. There are a few laughs, sporadic as they may be. The main problem is that the comedy is too generic, it doesn't grow out of the personas they painstaking developed over the years. One could just as easily imagine Abbott and Costello or Bob Hope and Bing Crosby doing the Indian Rope trick gag. The production values are better than the Roach films, but production value is a poor substitute for comedy. The predicament can be summed up in the casting. In this film the boys are menaced by Elisha Cook, Jr.. Don't get me wrong. I think Elisha Cook, Jr., is an terrific supporting actor, but against Humphrey Bogart, not Laurel and Hardy. The boys are better menaced by a comic heavy like Walter Long.

Still, although many Laurel and Hardy fans castigate Fox and MGM for their treatment of the duo during the 1940s, I don't honestly see how it could have been much different anywhere in Hollywood. Laurel and Hardy were products of the 1920s and 1930s, the golden age of screen comedy. The 1940s were the nadir of comedy. By the time "A Haunting We Will Go" hit the screens in 1942, all of the greats were all essentially gone. Chaplin was inactive, and never returned to the comedy which made him great. Harold Lloyd had retired. Buster Keaton's career was in ruins. W.C. Fields' career was over. The Marx Brothers' film career was essentially over. Even the Ritz Brothers only had two more films in them. When you look at Laurel and Hardy in the context of their peers, it is a great testimony to their popularity that their film career continued as long as it did. The 1940s would forever belong to Abbott and Costello and Bob Hope, the likes of whom would make some funny films, but decade never had the comic vitality of the 1930s.

This movie is like all Laurel & Hardy's '40's movies; Too much talking and not enough slapstick. And has an overwritten story and it relies too much on the script, rather than on Laurel & Hardy's antics and talent. Yes of course they get some slapstick to do but it doesn't feel as anything new or truly great, though the movie certainly does have its moments, which help to make this movie worthwhile.

The story is rather weak but above all really uninteresting. The title is deceiving and certainly has nothing to do with the movie.

Dante, a magician from the 20th century is in the movie too but you can wonder why. Seems like just a publicity stunt for both parties to me, since it doesn't serve a too big significant purpose for the main plot-line of the movie.

Not that this movie is bad but by Laurel & Hardy standards it still is a rather weak and bad one, that really isn't among their best work.

6/10

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Laurel and Hardy agree to transport a coffin containing a corpse. But after it becomes mixed up with a stage magician's coffin, Stan and Ollie end up as magician's assistants and find themselves entangled with gangsters who were smuggling one of their number in the coffin.

This is often unfairly dismissed as a turkey. It isn't one of L & H's greatest films, but it contains plenty of memorable points including a hilarious Indian rope trick as well as the duo being fooled into buying a 'money-making machine', Ollie hiding in a box which turns out to be a stage prop used in the 'death of 1000 cuts' trick. Dante the magician is an interesting character, the plot is well-written and there are some imaginate sets.

As I said, it's not one of L & H's best, but it's still a classic and certainly more than worth watching.

8 out of 10

Few names in comedy are as iconic as those of Stan Laurel and Oliver Hardy. Though not all their works were equal, by and large they stood alongside contemporaries like Buster Keaton, Harold Lloyd, and The Three Stooges with a steady stream of gags, physical comedy, situational humor, witty repartee, and not least the terrific dynamics between the stars. It speaks well to this 1942 title that it starts strong with a good few laughs, and at its best 'A-haunting we will go' is right on par with the duo's best films. It's not necessarily entirely perfect compared to others among their oeuvre, but it's hard to go wrong with Laurel and Hardy, and this ample demonstration of why they continue to be held in such esteem.

The shenanigans are reliably delightful at all times, and the nature of the plot in this instance allows for some flavors that are unique from those the legends' other pictures. One problem that this feature does distinctly have is that it's a tad imbalanced, for there is a lot of story packed into these sixty-six minutes as two hobos get mixed up with gangsters, and then a touring illusionist. Wherever that narrative receives focus the pacing is dragged down a bit, and the entertainment in turn, all the way through to the very end. On a like note, there's no disputing that "Dante the Magician" is a great showman and a fine addition to the roster for this flick; nevertheless, devoting a bit of the short runtime to his own antics further diminishes the screen time for Stan and Ollie. One consequence of our stars being shoved into a corner is that 'A-haunting we will go' feels less and less like a Laurel and Hardy flick, and more ordinary, alongside other 40s fare.

In fairness, these issues are less prominent in the back end as all the facets converge, and with that especially in mind - overall the movie is so fun, with the latter half making up for earlier issues, that we begin to forget about any troubles we recognized in the first place. All those stunts and effects that are employed are fantastic across the board, with some being even more complicated than what we've seen elsewhere with these two. Aspects like the sets, costume design, and hair and makeup are lovely, too, as they help flesh out the whole. Writers Lou Breslow and Stanley Rauh whipped up a swell tale to propel the silliness, and all the scene writing and bits are terrifically sharp and smart. Alfred L. Werker's direction ties all the moving parts together well, with some buzzing energy - though his task is certainly made easier with a splendid ensemble who do much of the heavy lifting themselves. Laurel and Hardy carry much of the title, by all means, but the big supporting cast easily rises to the occasion, with Dante and George Lynn easily standing out, among others.

All told I'd stop short of calling this a total must-see; in the very least, there are other films from the pair that I'd suggest more highly, including 'Saps at sea' and 'Swiss miss.' Even at that, whatever subjective faults one might reasonably assess against this ultimately turn out to seem pretty minor relative to how fabulously enjoyable it is otherwise. Whether you're a fan of the stars or really just looking for a good time you'll unmistakably find it here, and for the level at which the icons mostly operated, the minutiae don't particularly matter. 'A-haunting we will go' is another classic comedy from Laurel and Hardy, and I'm pleased to give it my hearty recommendation!

First things first - this is not a "horror-comedy" as I presumed it would be by the title. I mean, even the opening credits have the name of the film in ghoulish lettering along with the spooky image of a ghost leering down at Stan and Ollie, for crying out loud! But getting past that -- this is one of those oft-despised latter day "Fox films" that the aging team of Laurel and Hardy made after their greatest works at Hal Roach Studios. It's not as "heinous" as most critics make it out to be, but it's not one of their better forties movies either. In this one, the "boys" get released from a stay in jail and are told to leave town. So they meet up with a group of swindling crooks (one of them is played by a very young Elisha Cook Jr.) who need their help in traveling to Dayton, Ohio. The dopey plot is all over the place, but along the way there are some small chuckles to be had (the hitchhiking fiasco, the "Inflato" machine duping) and a few mildly cute slapstick gags. But things sink as the film goes on and "Dante the Magician" takes up too much screen time (he's even top billed along with Laurel and Hardy!) ** out of ****